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The idea of house concerts seems to be getting some legs. The “fabulous world headquarters loft of Accurate Records” again plays host, this time to the eclectic San Francisco band, Mercury Falls.
The ebullient entertainer Maurice Hines held court this week at a packed Cutler Majestic Theater, along with a score of other very talented musicians and tap dancers. What an evening!
The influence of two centuries of dandies on fashion — and the artful, strategic, ready-for-the-paparazzi self-presentation at the heart of modern celebrity — is on wide-ranging and colorful display in the Rhode Island School of Design Museum exhibit.
Songs sometime climax with Nicky Schrire improvising in a pure tone way up in her top register, like a bird darting on an updraft.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
Deadpan sarcasm perfectly pitched, absurdity of target (and publisher) punctured with a minimum of muss and fuss.
The selection of Andris Nelsons, 34, as the BSO’s next chief is an inspired choice and bold, and not just because of his age.
The only way to sort of enjoy “Family Tree” is with modest expectations; and indeed, this is the most modest of series, as Christopher Guest cuts his molars on TV with a program which rarely tries to be more than fairly amusing, mildly ambitious, a kind of bemused apprentice work in a new medium.
Yes, there is dance in New England this summer, but those who love motion may need to embark on a little themselves to journey further afield to watch it. The trip, I can assure you, will be worth it.
Any American arts critic worth his or her salt is part of a bohemian fringe, is aware of the political resonance of reviews, and is dedicated to sparking serious dialogue about arts and culture.
Arts Commentary: The Boston Symphony’s New Humanities Blueprint Makes Sense